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Lyric Quests Dendo Il Terzo Ciel Movete"-The Intellective Stress of These Verses Unite All These Canzoni As Redeemed Poetry

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Lyric Quests Dendo Il Terzo Ciel Movete Autocitation and Autobiography and done, all of the Comedy's autocitations are chosen for their ability to point beyond. The three poems share two common features; they all belong to Dante's stil novo register, and their incipits all emphasize the intellect. That is, they all point, from II within the stil novo, to beyond the stil novo, to the radically transformed eros of the Comedy. "Amor che ne la mente mi ragiona," "Donne ch'avete intelletto d'amore," "Voi che 'nten- Lyric Quests dendo il terzo ciel movete"-the intellective stress of these verses unite all these canzoni as redeemed poetry. The aim of this chapter has been to clarify some of the au- tobiographical impulses at work in the Comedy. If autobiog- raphy is a mode in which the urge for order is particularly acute, an urge that is translated into a teleological imperative, the autobiography of the Comedy is governed by a dual pressure: Historiography Revisited: the one exerted by the mode, and the other by the providential /I 'I Notaro e Guittone e me" framework. In the Comedy, all characters, all themes, all texts and their makers are inserted into a providential structure that The historiographical knot of the Comedy centers, appropri- guarantees the nature of the ending. In the autobiographical ately enough, around the knot of Purgatorio XXIV: "il nodo / instance (and all of Dante's texts are profoundly autobiograph- che '1 Notaro e Guittone e me ritenne / di qua dal dolce stil ical), the pressure imposed by providence is supplemented by novo chT odo I:' (55-57). Whereas the first part of the pilgrim's the pressure implicit in the discourse, a narrative exigency that wIth Bonagiunta deals solely with Dante's internal accounts for the self-consuming revisionism of these texts. This poetIc bIOgraphy, implicitly situating "Donne ch'avete" with pressure, always present as the deep meaning of Dante's nar- to his to:al oeuvre, Bonagiunta's reply raises external rative structure, appears on the surface in some more "super- questIons of poetIc genealogy and historical precedence. Whereas ficial" forms: the prose and the divisioni of the Vita Nuova, the pilgrim articulates poetic principles in a vacuum, the older the gloss of the Convivio, the autocitations of the Comedy. poet the historical implications of those principles, dis- From this point of view it was a foregone conclusion that the covenng In the pilgrim's poetic credo a criterion of measurement final autocitation would signify not itself but the guaranteed by which he judges earlier Italian poetry-" '1 Notaro e Guit- ending; !lVoi che 'ntendendo" is yet one more new beginning tone e mel/-and finds it lacking. There are, in fact, two distinct to be transformed-!ltransmutata"-into a sign for the Comedy moments accommodated by the dialogue's triadic structure; the itself. And finally, in passing from Dante's treatment of himself pers?nal the historical are both present. We cannot, given to his treatment of his peers, we should note that the teleological the IdentIty of the pilgrim's interlocutor and the nature of his imperative structured into his own "life" is, naturally, imposed comment.s, combined with the additional poetic references of onto the lives of others. Purgatono XXVI, avoid the historiographical intentions of this passage. On the other hand, its historiographical weight does not detract from its impact at the level of autobiographyl 1 In my opinion, Dante wishes to make both the folloWing points in this 84 85 Lyric Quests Historiography Revisited Dante intends us to draw a line between old and new; to this the prepositional phrase "di qua da!,1! that effectively end, he provides us with names, both in canto XXIV and again dIvIdes all poets into "here" or "there," "us or them": in canto XXVI, that we can sketch in on either side of the imagined boundary, thus obtaining a rough chronology. Canto "0 frate, issa vegg' io," diss' elli, "il nodo XXIV extends the scope of the investigation backwards to the che 'I Notaro e Guittone e me ritenne beginning of the Italian tradition by mentioning the Notary, di qua dal dolce stil novo ch'i' odo! Giacomo da Lentini; we notice that the passage refers only to 10 veggio ben come Ie vostre penne poetic masters, capiscuoIa, who implicate not only themselves di retro al dittator sen vanno strette but also their followers in an arc that spans each phase of the che de Ie nostre certo non avvenne' I early Italian lyric: from the Notary, head of the Sicilian school, equal piu a gradire oltre si mette, ' to Guittone, head of the Tuscan school, to Bonagiunta, a me- non vede pili da I' uno a I' altro stilo"; diator, or Siculo-Tuscan. 2 We notice, also, the binary opposi- e, quasi contentato, si tacette. tions-we/you, one/other-that structure Bonagiunta's rejoin- "0 brother, now I see," he said, "the knot which held the der, emanating from the original polarity at the heart of his Notary and Guittone and me on this side of the sweet new style which I hear! I see well how your pens follow closely passage: (1) there is a new style that pertains to a group of new poets; this is the stif novo in the generic sense, defined historically as that style or manner after the dictator, which WIth ours certainly did not hap- to which the older poets named here cannot aspire; (2) within this new style, pen; and he who sets himself to proceed further sees no there is a truly new style, characterized by the nove rime, and this is Dante's more from one to the other style." And, as if satisfied he own stil novo. A similar conclusion is reached by Franco Suitner, If 'Colui che was silent. ' fore trasse Ie nove rime,' If Lenere italiane, 28 (1976), 339-345. A balanced case for the existence of the school, based in particular on the perceptions of (55-63; italics mine) other poets, as documented by the various poetic challenges of contemporaries The dichotomy is temporal, extending from the stressed "now" like Guido Orlandi and Onesto degli Onesti, is made by Mario Marti, Storia dello Stil nuovo, 2 vols. (Leece: Milella, 1973); volume I also provides a useful of ("issa vegg' io," "io veggio") to the "then" summary of earlier criticism on the stil novo. For a resume of more recent of Ignorance, from "our" nonperforming pens to "your" ca- critical opinion, see Marti's "Sullo StH nuovo e sugli stilnovisti: linee della pable ones, from "one to the other" style. The fact that on one problematica recente," Cultura e scuola 16, nos. 63-64 (1977), 19-28. Another side we find carefully chosen names and on the other the amor- moderate interpretation is that of Antonio Enzo Quaglia, Gli stifnovisti, in La phous category "dolce stil novo" only strengthens the disparity Stilnovo e fa poesia refigiosa, vol. I of II Duecento: Dalle origini a Dante (Bari: Laterza, 1970). the sense of an unbridged gap. ' 2 The priority of the Sicilian school for Dante is established by De Vulgari Purgatorio XXVI adds to the general picture provided by canto Eloquentia I, xii, 2. Contini considers Bonagiunta "l'autentico trapiantatore dei XXIV: the his ton cal framework is enlarged to incorporate the lf modi siciliani in Toscana (Poeti del Duecento, vol. I, p. 258). On Bonagiunta more names are forthcoming. An Italian in the Comedy, see: James E. Shaw, "Dante and Bonagiunta," The Annual poet, GUlfiIzzelh, out from the unprivileged past as a Report of the Dante Society, 52-54 (1936), 1:.18; Maria Simonelli, "Bonagiunta e la problematica della stil novo," Dante Studies, 86 (1968), 65-83; Marcello precursor to the prIvIleged present; his poetry is carefully con- Ciccuto, "Dante e Bonagiunta: reperti allusivi nel canto XXIV del Purgatorio," nected to Dante's and to the "dolce stil novo" invoked by Bona- Lettere italiane, 34 (1982), 386-395; R. L. Martinez, "The Pilgrim's Answer a double use of the key word" dolce": "Li dolci detti to Bonagiunta and the Poetics of the Spirit," Stanford Italian Review, 3 (1983), vostn 0 XXVI, 112 echoes "rime d'amor ... dolci e leggiadre" 37-63. from XXVI, 99. If the plural of canto XXIV, "vostre penne," 86 87 Lyric Quests Historiography Revisited is dismissed by some critics as a sudden shift to the honorific in mind in these sections of the Purgatorio, namely the De (permissible in early Italian syntax), the plural of canto XXVI Vulgari Eloquentia. There he was more explicit regarding those is not so easily bypassed. 3 Here Dante calls Guinizzelli a poetic of his contemporaries he considered his poetic comrades, on one father, who has engendered not only Dante himself, but also occasion using an expression that seems (as has frequently been other love-poetsi presumably, as Guinizzelli's metaphoric "sons," noted) like an anticipation of the formula "dolce stil novo," these others are contemporaries of Dante: "il padre / mio e de referring to Cino da Pistoia and himself as the vernacular poets Ii altri miei miglior chemai/ rime d'amor usar dolci e leg- who have composed "dulcius subtiliusque" ("more sweetly and giadre" ("the father of me and of the others my betters who subtly" [I, x, 2]). On another occasion he specifies that those ever used sweet and graceful rhymes of love" [97-99]). In the Tuscan poets who have achieved vernacular excellence are Ca- light of this passage a plural connotation to "dolce stil novo" valcanti, Lapo, himself, and Cino (I, xiii, 4). Faced with these is, I believe, inescapable.
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